Milt Jackson

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his "Bags' Groove." However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76. ~ Scott Yanow

Pianist Monty Alexander had first appeared on a Milt Jackson record in 1969. Eight years later the great vibraphonist used Alexander's trio (which included bassist John Clayton and drummer Jeff Hamilton, future big-band co-leaders) for this spirited Pablo session that was subsequently reissued on CD through Original Jazz Classics. Much of the material is obscure (including Jackson's three originals), with Stevie Wonder's "Isn't She Lovely" being the only standard. The music, however, is as straight-ahead as one would expect from these fine musicians, and can easily be recommended to their fans. ~ Scott Yanow

This double album features vibraphonist Milt Jackson with some of his best musical friends (tenor-saxophonist Teddy Edwards, pianist Cedar Walton, bassist Ray Brown and drummer Billy Higgins) for a typically swinging set of standards. It is particularly welcome to hear the underrated Edwards in this setting and all of the musicians are in top form on such superior songs as "Killer Joe," "St. Thomas," "Bolivia" and "Bye Bye Blackbird." ~ Scott Yanow

The music on Wizard of the Vibes features Milt Jackson with the Thelonious Monk Quartet in a 1948 session combined with a 1952 date with his bandmates from the Modern Jazz Quartet (at that time including John Lewis, Percy Heath, and Kenny Clarke) along with alto saxophonist Lou Donaldson, who was oddly credited as the leader of the date on the original release, though it clearly seems to be Jackson in charge. The chemistry between Jackson and Monk on classics like "Misterioso," "Evidence," "I Mean You," and "Epistrophy" is immediately apparent, although Kenny "Pancho" Hagood's vocals on the standards "All the Things You Are" and "I Should Care" remain an acquired taste. Jackson introduces three originals on the latter session, including the debut of his highly acclaimed "Bag's Groove," which has long since become one of the most celebrated and popular jazz compositions. Lewis' uncanny musical ESP is evident throughout the session, as he feeds Jackson imaginative lines for his improvisations. Donaldson is enjoyable at times but doesn't always play at a level equal to the rhythm section, resorting to rather run-of-the-mill ideas in some of his improvisations. Milt Jackson's inventive playing throughout both dates makes this an important CD in his considerable discography, so it should be a part of any bop fan's collection. ~ Ken Dryden

Vibraphonist Milt Jackson welcomes the two future co-leaders of The Jazztet (trumpeter Art Farmer and tenor-saxophonist Benny Golson) along with a fine rhythm section (pianist Tommy Flanagan, bassist Paul Chambers and drummer Connie Kay) on this CD reissue. The repertoire (which includes early versions of Golson's "Whisper Not" and "I Remember Clifford" in addition to two standards, a Milt Jackson blues and John Lewis's "Afternoon in Paris") is very much in The Jazztet hard bop vein and Jackson fits in very well with the two lyrical horn soloists. A successful outing by some of the greats. ~ Scott Yanow